Full Circle – Doug Binder

ARTSPACE, GALLERY ONE, | 20/01/2018 : 04/03/2018

“Concentrating on the life model as I do now has meant coming full-circle from my early studies as a 16 year old student at Bradford College of Art in the late 1950’s. I left Bradford for London and the Royal College where abstraction became my primary interest for some considerable time.

My conversion back to life drawing coincided with a move back to my roots in the north, and the need to return to some basic fundamentals. Painting the figure brought back early memories of that first life room. I recalled the claustrophobic effects of the constant heat from the one-bar electric fires, the pungent aroma of oil and turpentine, and above all I recalled the silent dedication of the student engaged in an absorbing ritual.

In the fifties we were trained to paint, and the life room was the symbolic heart of our aspiration. It was clear that to become an artist would take a long time – and much of that time would be spent in painting ‘from the life’. Some 50 years later in my case, I find that this is still my priority. Each painting is a new proposition. The risk of failure is high, the problem of resolving such a subtle form is always the same challenge, yet different enough to seem uniquely fresh each time.

As Painter in Residence at Dean Clough in Halifax, I am fortunate in having a studio more or less attached to the galleries, where I work on around 20 paintings at any one time, depending on how well each is progressing.

At present the nude figure is all that interests me as a subject for painting. The nude in history is always fascinating. The mythical, psychological and sexual aspects are constantly present, but for me, it’s the universal yet ordinary experience that I’m interested in – the common-place.”

DOUG BINDER

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Created by Benjamin Partridge, The Owlery focuses on the development of surface pattern design, developing complex or interesting surface patterns from single motifs. He uses lino and wood cut techniques alongside screen printing to create textiles, ceramics products and fine art prints. The Owlery products are predominantly inspired by the British woodland and current affairs relating to the protection of British animals and insects, as well as a general fascination by the world around us.

Benjamin designs, makes and sells textile, ceramic and paper products which are functional and visually appealing with just a hint of whimsy, as well as original fine art screen and lino prints.

Benjamin has exhibited at trade fairs as well as retail shows over the last few years but this is the first time The Ropewalk has showcased his work bringing you a vibrant collection for Spring 2018.

“Concentrating on the life model as I do now has meant coming full-circle from my early studies as a 16 year old student at Bradford College of Art in the late 1950’s. I left Bradford for London and the Royal College where abstraction became my primary interest for some considerable time.

My conversion back to life drawing coincided with a move back to my roots in the north, and the need to return to some basic fundamentals. Painting the figure brought back early memories of that first life room. I recalled the claustrophobic effects of the constant heat from the one-bar electric fires, the pungent aroma of oil and turpentine, and above all I recalled the silent dedication of the student engaged in an absorbing ritual.

In the fifties we were trained to paint, and the life room was the symbolic heart of our aspiration. It was clear that to become an artist would take a long time – and much of that time would be spent in painting ‘from the life’. Some 50 years later in my case, I find that this is still my priority. Each painting is a new proposition. The risk of failure is high, the problem of resolving such a subtle form is always the same challenge, yet different enough to seem uniquely fresh each time.

As Painter in Residence at Dean Clough in Halifax, I am fortunate in having a studio more or less attached to the galleries, where I work on around 20 paintings at any one time, depending on how well each is progressing.

At present the nude figure is all that interests me as a subject for painting. The nude in history is always fascinating. The mythical, psychological and sexual aspects are constantly present, but for me, it’s the universal yet ordinary experience that I’m interested in – the common-place.”

Hannah Nunn is a creator of paper cut lighting. Originally from Leeds she found great inspiration in the countryside when studying ‘Crafts’ at Carmarthen College in West Wales. Hannah lived in Laugharne for many years, raising two small children, sketching and drawing in the fields and woodland and gathering ideas. When her children were ready for school the family moved back north settling in Hebden Bridge.

Hannah launched her first collection of paper cut lamps at the British Craft Trade Fair in 2003 and since then her lamps can be found in many craft galleries around the country. She opened her shop, Radiance, in 2005 and moved to larger premises five years later and works from her studio nearby.